35 



I NO PLAYS EXCHANGED. 



Baher'5 Edition 

or PLAY3 



MOTH BALLS 



Price, 25 Cents 




J1* m. Pinero's Plays 

Price, 50 ecnt$ 6acD 



TUr A M A 7nM<J Farce in Three Acts. Seven males, five fe- 
inCi AluALUliO males. Costumes, modern; scenery, not 
dlfflcalt. Plays a full evening. 

THE CABINET MINISTER males, ^nlne females! Ces 
tumes, modern societj'; scenery, three interiors. Plays a full evening- 

HAWnV niflf Farce in Three Acts. Seven males, four fe- 
U/\ill/I UiViV males. Costumes, modern ; scenery, two inte- 
riors. Plays two hours and a half. 

THE r* AV I nPn nilFY comedy in Four Acts. Four males, 
inCuAl LvIVU VdUCA ten females. Costumes, modern: 
scenery, two interiors and an exterior. Plays a full evening. 

UTQ UniTQE IM riDnrP comedy in Four Acts. Nine males, 
IlliJ nUUOIL 111 V/IM/CIV four females. Costumes, modern; 
scenery, three interiors. Plays a full evening. 

TUIT UHRDV UnPQIT Comedv in Three Acts. Ten males, 
iriEi nUDDI nv/IVJEi five females. Costumes, modern; 
scenery easy. Pbiys two hours and a half. 

ipic Drama in Five Acts. Seven males, seven females. Costumes, 
l»»l<^ modern ; scenery, three interiors. Plays a full evening. 

I AHY RniTNTIFITI Play i" Four Acts. Eight males, seven 
Mdl\U I DV/UlllirULi females. Costumes, modern; scen- 
ery, four interiors, not easy. Plays a full evening. 

I FTTY ^'■^"^^ '° Four Acts and an Epilogue. Ten males, five 
U^» * * females. Costumes, modern; scenery complicated, 
plays a full evening. 

mlWATICTPATir Farce in Three Acts. Twelve males, 
1T1/\U10 1 IV/\ i £• four females. Costumes, modem; 
fMDery, all interior. Plays two hours and a half. 



Sent prepaid on receipt of price by 

Salter ?|. ??afeer Sc Campanp 

Vt. 5 Hamilton Place, Boston, Massachusetts 



Moth Balls 



A Play in One Act 



By 
SALLIE KEMPER 



NOTICE 



The professional stage and moving picture rights in this play 
are reserved by the author, and all persons wishing to produce 
it publicly and for profit should apply for permission to the 
author in care of the publishers. Amateurs may produce it 
without permission. 



BOSTON 

WALTER H. BAKER & CO. 

1918 






Moth Balls 



CHARACTERS 

{As originally produced May ig, Jgiy, by The Theatre Arts Chib at 
The Little Theai/s of the Arts and Crafts, Detroit, Mich.) 

Mary Craig, a successful playwright - Grace L. Ainsivorth 
liETTY Hughes, her secretary - - - - Ajuia Jones 

G\.AU\s Dek-hk, an actress .... Ja7ie E. Towet 

Time. — Present. Place. — Country home in Massachusetts. 




Copyright, 1918, by Sallie Kemper 

as author and proprietor 

Professional stage and moving picture rights reserved 

©CI.D 5H;il . 



Moth Balls 



SCENE. — Sitting-room of Mary Craig's cottage. Cen- 
ter back is a door leading to the entrance hall. The 
right wall is broken by another door through which a 
bedroom may be reached and opposite this is a cur- 
tained archzvay opening off the dining-room. Left cen- 
ter back is a bay zvindow, affording a glimpse of the 
beach. A table with a typewriter, three or four stiff 
chairs and an old-fashioned sofa comprise the furnish- 
ings of the room. It is about eleven o'clock on a bright 
morning in June. 

(Mary Craig is discovered dictating to her secretary. 
She is a slender woman, in her early thirties, zvhose 
natural prettiness has been obscured by a pair of 
huge, horn-rimmed nose-glasses. Her hair is drazvn 
straight back from her forehead and she wears a 
most unbecoming costume. Her shirt-zvaist and 
skirt are at least ten years out of date and her man- 
nish collar is decidedly zvilfed. Betty Hugttrs, the 
secretary, a pretty girl of twenty, is seated before 
the typewriter, industriously poiinding the keys. ) 

Mary. What chapter are we on now? 

Betty. The thirteenth. 

Mary. And we started this novel on a Friday! 
{Glancing over some fypezvritfen pages.) Your work is 
very neat and accurate, Betty. I have come to depend 
on vou tremendously. You're the best secretary I've ever 
had. 



4 MOTH BALLS 

P>i:tty (demurely). Thank you, Cousin Mary. 

{.Id justing her spectacles, Mary turns her attention 
to Iter note-book.) 

Mary (briskly). Let's get to work now. (Clearing 
her throat, she begins to dictate.) "When Cynthia 
opened her big, brown eyes " 

Betty. Beg pardon, but they were blue in the last 
chapter, 

Mary. Were they? Well, I have noticed that some 
of our best authors create heroines with changeable eyes. 

Betty. Shall I ? 

Mary. I'll revise the text later. " When Cynthia 
opened her big, blue eyes she saw a butterfly hovering in 
her open window " 

Betty (looking up). But it was December! 

Mary. That's so. Better make the butterfly into a 
little frozen sparrow. Editors are so critical nowadays. 
(Suddenly she throzvs dozvn her note-book and moves to- 
zvard the younger woman.) I can't keep my mind on my 
work this morning. I'm too upset. 

Betty. What is worrying you ? 

Mary (abruptly). Moth balls! 

Betty. Moth balls ? 

Mary. Don't be a parrot, my dear. (She begins to 
walk nervously up and dozvn.) I had a letter from your 
Cousin John this morning. 

Betty (in surprise). John ? Your husband ? 

Mary. Yes. And he chose to rake me over the coals 
simply because I failed to pack his fur coat away in moth 
balls. He says it's ruined. 

Betty. Too bad. 

Mary (leaning forward zvith a sudden air of confi- 
dence). We have had two previous scenes on this sub- 
ject. John thinks I neglect him terribly because I don't 
spend my life darning his socks, sewing on buttons for 
him and keeping the moths out of his clothes. 

Betty. If T had a husband as attractive as Cousin 
John those are just the things I'd enjoy doing for him. 

Mary. Would you? Well, I'd rather write plays and 



MOTH BALLS 5 

books. Vm tired of John's constant demands on me and 
I think I could do much better work if I were— were free ! 

(Drawing a long breath.) 

Betty (in a Utile shocked voice). Oh, Cousin Mary! 

Mary. It's true. There is nothing as important as 
my career and John is hampering me. 

Betty. But if John 

Mary. I know John simply worships me, — and I 
don't like to hurt him. (After a nwiuent.) But I've 
got to regain my independence. I can't be continually 
harassed by trivial things like 

Betty (softly). Mothballs. 

Mary (passing her hand across her sleek, dark head 
in her characteristic gesture of impatience). It's tragic, — 
and absurd. I won't stand it. 

Betty. But if Cousin John loves you so 

Mary. He has never even looked at any other woman. 
Perhaps he would do something desperate if I should 
leave him! (With a genuine expression of distress.) 

Betty (leaning across the table with an abrupt change 
of manner). For how many summers have you been 
coming to this cottage in Massachusetts, Cousin Mary ? 

Mary, This is my second season. Why? 

Betty (brushing a blond curl out of her eyes). Are 
you known as Mary Craig, the famous writer, or ? 

Mary. Very few people here know that I am Mrs. 
John Waring. You see, John hates Gloucester and never 
comes to the place. He says there's nobody here but old 
maids and cranks. 

Betty (chuckling). I guess he's right. 

Mary (zvith an indignant glance). What! 

Betty (hastily). I didn't mean that the way it 
sounded. 

Mary (gathering up her papers from the table. A 
little pause has ensued after Betty's blunder). I am ex- 
pecting Miss Gladys Deane, the famous actress, this 
morning, and I hope you will be particularly polite to her. 

Betty (surprised) . Gladys Deane is coming here? 

Mary (nodding). She wishes to talk over some points 
in my play which she is to produce next fall. I consider 



MOTH BALLS 



her the most charming actress on our stage to-day. They 

say that {She is interrupted by the sound of the 

door-bell.) Will you please see who that is, Betty ? I 
have sent Hannah to the post-office for our mail. 

(Betty rises and leaves the room with her customary 
unhurried step. A moment later she ushers in, c. 
bock, Gladys Dkane, a handsome, modishly dressed 
woman in her late twenties, whose manner is a trifle 
too assured.) 

Miss Deane {giving Mary a limp hand). So glad to 
see you again, Miss Craig. 

Mary. You haven't changed a particle ! May I pre- 
sent my cousin, Betty Hughes? Betty — Miss Deane. 

Miss Deane {extending the tips of her fingers to 
Betty). How do you do? {To Mary.) Sorry if I'm 
late, but it's quite a walk from my hotel here and the sun 
is hot. 

Mary {bringing forward a chair). Won't you have a 
glass of water — or iced tea ? 

Miss Deane {sinking into the chair and fanning her- 
self languidly). No, thank you. I'm just a little out of 
breath. 

Mary {forcibly struck by the actress' languid beauty 
and the perfection of her attire). You are the most 
ornamental woman I ever saw, Miss Deane. To look at 
you no one would ever suspect the prodigious amount of 
work of which you are capable. 

Miss Deane {smiling). I've been on the stage ever 
since I can remember and it's been nothing but hard work 
all the time. I'm thinking of retiring. 

Mary {taking a step backward in her amazement). 
You're thinking of leaving the stage ! Oh, you can't 
mean that. 

Miss Deane. But I do ! I want to rest and enjoy life 
like other people. 

Betty {demurely). Perhaps Miss Deane expects to — 
to marry and settle down. 

Miss Deane {quizzically). Perhaps! 

Mary. And what will become of my farce, " The 
Bandbox"? 



MO'Ili BALLS 7 

Miss Deani:. Turn it into a musical comedy and I'll 
see that it's produced. 

Mary. Surely you aren't thinking of leaving the stage 
immediately ! 

Miss Deane. N-no, not immediately. {Lozvering 
her voice.) I'll let you into the secret of my incipient 
romance. It began only last week. 

Betty. Last week ! 

Mary. Don't mind the little parrot, Miss Deane. You 
were saying 

Miss Deane. I have at last met a man who could in- 
terest me for the rest of my life. 

Mary. He must be very clever. 

Miss Deane. He is clever, handsome, amusing and — 
attached ! 

Betty. Attached ! 

Mary (frowning) . My cousin is a good example of 
the ancient Greek chorus. 

Betty. Pardon me. I won't interrupt again. 

I\Iiss Deane. You mustn't think the man I refer to is 
in any sense a married flirt. He is too good and honest 
for that. 

Mary. His wife ? 

Miss Deane (a line appearing between her brows). 
She forced him to indifference by her neglect. She leaves 
him alone for months at a time, he says, and refuses to 
look after his comfort in any way. I understand she 
made quite a scene not long ago just because he asked her 
to put his fur coat away in moth balls. _, 

Betty (with a gasp of astonishment). .Fur coat! 
Moth balls ! Oh, my goodness ! 

{She giggles hysterically and then clapping her hand- 
kerchief over her mouth, runs hastily front the room. 
Miss Deane turns to look after her through her 
pince-nez. ) 

Miss Deane. What an extraordinary young girl ! 

Mary {still in the grip of her intense surprise; she has 
not changed her position). Did I understand you to say 
this young man is deeply interested in you? 



8 MOTH BALLS 

Miss Deane. Well, not deeply interested. But he is 
lonely and susceptible. I dare say I could make him like 
me better — if he were free. 

Mary (a shocked note in her voice). He is not think- 
ing of leaving his wife ! Oh, how dreadful ! 

]\Iiss Deane. But from what John says 

Mary (casually). John ? 

Miss Deane. John Waring is my friend's name. He 
comes from a small town in Virginia. But you are en- 
tirely too famous to have ever heard of him. 

(There is a Utile pause.) 

Mary (7vith an effort). When did you see him last? 

Miss Deane. Yesterday. He is staying at Magnolia 
and we had a charming luncheon together. You can't 
imagine how entertaining he is. 

Mary. Indeed? 

Miss Deane. Of course our attitude was entirely 
friendly and proper. We were chaperoned by an elderly 
cousin of John's. Mr. Barbour 

Mary. Did he 

Miss Deane. The nice old dandy confided to me that 
John's wife is a dowdy little frump, — plain as the pro- 
verbial pipe-stem, — and is several years older than John. 

Mary. That isn't so 

Miss Deane (astonished). I beg your pardon! 

Mary (confused). I said — is that so? 

Miss Deane. Well, I mustn't bore you with my per- 
sonal affairs any longer. 

Mary (in a stifled voice). You aren't — boring me. 

Miss Deane (opening her vanity case, she begins 
powdering her nose). Shall we talk about the disposal 
of your play ? 

Mary. If to-morrow would be as convenient 

^ Miss Deane (nodding). Very well. I haven't much 
time to spare now as I am due in Magnolia at one for 
luncheon 

(She rises, drazvlng on her long gloves just as the door 
opens and Betty enters.) 



MOTH BALLS 9 

Betty. You are wanted on the telephone, Miss Deane. 

Miss Deane {moving tozuard the door with alacrity). 
Thank you. You'll excuse me a moment, Miss Craig? 

Mary. Certainly. 

Betty. You'll find the 'phone on the little table in the 
hallway. {As the actress leaves the room, Betty goes 
quickly to Mary, who has dropped her face in her hands.) 
What's the matter, Cousin Mary ? 

Mary {hrushing the hack of her hand across her eyes). 
Miss Deane is b-beautiful, c-clever and c-charming — and 
I — I'm a fool ! 

Betty {fearing that her cousin is on the verge of 
hysterics). Brace up. Cousin Mary. Don't cry. Re- 
member you said 

Mary {standing up abruptly). Never mind what I 
said. Where is your box that came from Altman's this 
morning ? 

Betty. It's in my room. Why? (Mary leaves the 
room R. precipitately without replying and a second later 
Miss Deane returns.) Cousin Mary wishes you to ex- 
cuse her for a few minutes. Miss Deane. 

{She seats herself before her typewriter and Miss 
Deane resumes her old place by the table. There 
is a little pause. ) 

Miss Deane. This seems to be the warmest day we 
have had. 

Betty {absently). Does it? 
Miss Deane. Don't you think so? 
Betty. Why, yes, I suppose 

(Miss Deane yawns.) 

Miss Deane. It will probably rain before evening. 
Betty. Probably. 

(Miss Deane moves toward the windozv and stands 
looking out across the sand dunes.) 

Miss Deane. What a beautiful view you have from 
here. 

Betty. Yes, it is nice. 



10 MOTH BALLS 

(Suddenly Miss Di:anl: approaches BiiTTY and puis a 
hand on her sJiouIder.) 

]\Iiss Deani:. How long has your cousin been mar- 
ried ? 

Betty (in surprise). Yon know that she is married? 

Miss Deane. Yes, of course. 

Betty. But as a — a friend of John's 

Miss Deane (sntiling). I am going to marry John 
Waring's brother. 

Betty. You are going to marry — Claud? 

Miss Deane. Yes. 

Betty (trying to readjust herself). And you are 
not — interested in John? 

Miss Deane. Only in the way that the humane society 
would interest itself in a stray cat. I couldn't bear to see 
my future brother-in-law neglected and miserable, so I 
thought if I came here I could frighten Mary out of her 
selfishness. 

Betty (impulsively) . I'm glad you came, — glad you 
are to be a member of our family. 

^Iiss Deane (kissing her). Thank you, dear. Of 
course I may not have done any good to-day, but perhaps 
if my little bark is ever in danger of the shoals some one 
will help me steer clear of them. (Picking up her para- 
sol.) You won't give me away to your cousin just yet, 
will you? 

Betty. No, indeed. But you're not going? 

Miss Deane. I've barely time to make the twelve- 
forty train for New York. 

Betty. John is 

Miss Deane. With his uncle at Magnolia. Please 
tell " Mrs. Waring " I'm sorry I couldn't wait any longer. 
Perhaps I'll see you in New^ York this summer. 

Betty. I — I 'hope so. 

Miss Deane. Good-bye, then,— Betty. I may call 
you that? 

Betty. If you will, — Cousin Gladys. Perhaps you'll 
write to me? (Miss Deane nods and zvalks briskly out 
of the room. There-is a shade of wistfulness in Betty's 
expression as she comes back from the entrance-hall. 



MOTH BALLS II 

Suddenly the bedroom door opens and Mary comes in. 
Her appearance is completely changed. Her hair has 
been fluffed out about her ears, the disfiguring spectacles 
are gone and her mannish costume has been replaced by 
a modish gown which seems to typify the essence of 
femininity. She wears a smart hat and carries a pink 
parasol. Betty stares at her in amazement.) This can't 
be you ? 

Mary (breathlessly). What's the matter with me ? 

Betty. You look so different, — so pretty ! 

Mary. I borrowed some of your clothes. Hope you 
don't mind. 

Betty (drawing a long breath). Of course not! 
You look like a debutante ! 

Mary (tersely). Thanks. 

Betty. You seem entirely too young to be the well- 
known woman writer whose distinguished career 

Mary (interrupting vehemently). Damn my career! 

(She moves quickly toward the door at back.) 

Betty. Where are you going? 

Mary. I'll take a short cut to Magnolia so as to meet 
my husband before that — that vampire gets to him. 

Betty. And then ? 

Mary. I'll let John see what a " dowdy old frump " he 
married. If he decides to give me another chance I'll 
show him how well I can look after his comfort. 

Betty. Aren't you going to write any more? 

Mary. Yes, — but John comes first from now on. Oh, 
Betty, I can make him happy, — if he'll let me. He shall 
see me just reveling in an atmosphere of darning cotton, 
home-made preserves and — and moth balls ! 

(She goes out quickly and Betty is laughing softly to 
herself as she closes the door.) 



CURTAIN 



STEP LIVELY 

A Comedy in Two Acts 
By Gladys Ruth Bridgham 
Four males, ten females. Scenery, one interior ; costumes, modern. 
Plays two hours. Billings, banker and mill owner^ ruined by the war, 
feigns illness and keeps to his room to avoid explanations. His sister 
turns up with three daughters, all bringing new complications, and things 
come pretty swift for Billings and his son Joe. His niece, Jerusha, a born 
detective, opportunely turns up, however, and does some Sherlock Holmes 
work on a very interesting and complicated situation, and brings matters 
to a highly satisfactory conclusion. Very rapid and exciting ; can be 
recommended. 

Price, 2 J cents 

CHARACTERS 

Joseph Billings, mill owner and Gwendolyn Smith, her niece. 

President of Benham Trust Co. MARTHA Holton, Billings' niece. 

Joseph Billings, Jr., his son. Lucille Loveland, of the " IVin- 

Theodore Cunningham, his secre- some Winnie Co.'^ 

tary. CARRY Arry. 

Horatius Thimple. Nora, the maid. 

Mary Smythe, Billings' sister. Jerusha Billings. 
Beverly Smythe '\ ^ ^ 
Juliet Smythe \ ^ ^u*. ^ 
Rose-marie Smythe J ^^^shters. 



JOHNNY'S NEW SUIT 

A Comedy in Two Acts 

By Mary G. Balch 

Two males, five females. Scenery, interiors ; costumes, modern. 

Plays fifty minutes. Mrs. Larkin tries to make Johnny a new suit to 

wear at the prize speaking competition, but does not get it further along 

than basting when the hour arrives. She takes a ciiance on the basting 

thread holding, but. in the excitement of the occasion the threads break 

and Johnny's efforts are somewhat complicated. He wins out, however. 

Howlingly funny and strongly recommended. 

Pricey 2^ cents 



DINNER AT SEVEN SHARP 

A Comedy in One Act 
By Amabel and Tudor Jenks 
Five males, three females. Scene, an interior; costumes, modern. 
Plays forty minutes. Beverly, a patent lawyer, custodian of certain 
papers important to a rival of the electric company that he represents, 
baffles, after an exciting experience, an emissary of his opponents, who is 
in his own employ disguised as an English butler. Very interesting and 
well recommended. 

Price, ^/ cents 



THE DISTRICT ATTORNEY 

A Comedy Drama in Three Acts 
By Orrin E. Wilkins 
Ten males, six females. Costumes, modern ; scenery, two easy inte- 
nors. Plays a full evening. Bob Kendrick, college athlete and popular 
man, is in love with Dorothy Seabury, but she will not hear him until he 
has made a start in life. He runs for the office of District Attorney as 
part of a political trick of the " boss," Sullivan, but turns the trick and 
•wins the election. His first official act is the prosecution of the Packing 
Company of which Dorothy's father is the head, which leads to liis suicide 
and Dorolliy's alienation. Later, when she knows that his strict pursuit 
of duty has not spared his own father's name, which was involved in the 
same scandal, she understands and forgives him. The political thread on 
which is strung a strong and varied story, introducing lots of comedy and 
a strong college flavor. Good enough for any purpose ; strongly recom- 
mended. 

Price, 2^ cents 

CHARACTERS 

Mr. Wm. Seabury, Pres. of Seabury Packing Co. 

Mr. Herbert Brownell, reporter of the " Tribune,''* 

Richard Seabury, senior at college. 

Bob Kendrick, a fixture at the university. 

Billy Reynolds, /?'^5//w<2?2 at college. 

P. Homer Sullivan, /^////Vmw. 

John J. Crosby, district attorney, running for reelection, 

JiMMiE, office boy. 

Howard Calvert, Beverly's little brother. 

Sam, Calvert" s butler. 

Aunt Hattie, Wm. Seabury s sister. 

Dorothy Seabury, IVjn. Seabury s daughter, 

Beverly Calvert, | 

Peggy Marshall, v Dorothy s chums, 

Polly Whitney, J 

Margaret, servant. 

SYNOPSIS 

Act I. Drawing-room of the Seabury residence. 

Act II. The district attorney's office, a few months later. 

Act III. Same as Act I, one year later. 

A SUFFRAGETTE TOWN MEETING 

An Entertainment in One Act 
By Lilian Clisby Bridghajn 
Twenty female characters. Costumes, modern ; scenery, an ordinary 
room or hall— unimportant. Plays one hour. Presents a town meeting as 
it will be conducted by and by when the ladies have taken full charge of 
the public business. A shrewd and good-natured satire of present feminine 
pecuHarities applied to this problem written for laugliing purposes onhj. 
Just the thing for women's clubs. 

Price, 2'r- :entr 



A FOUL TH^ 

A Comedy Drama in Three Ac»:s 

By Charles S. Allen 
Seven males, three females. Costumes, modern ; scenery, one exterioi 
scene, not changed. Plays two hours. The safe at Irving's factoiy is 
robbed and three persons are under suspicion, which finally settles most 
strongly on Verne Gale, the hero, who, to protect Hal Irving, old Irving's 
son, whom his sister Nellie loves and whom he believes to be the real cul- 
prit, keeps his mouth shut save for protesting his own innocence. 
« Uncle " Tim Purdy is loyal to him and, with the aid of Pete Adams, tlie 
colored pitcher of the Westvale nine, finally discovers the real culprit, A 
strong play with unusual strength and variety of character and abundance 
of humorous lines and incidents. Very highly recommended. 
Ffice, 2^ cents 

CHARACTERS 

Tim VM'^TiY, postmaster, chief of police and storekeeper at Westvale, 

Hiram Rowell, the village expressman. 

Oliver Irving, manufacturer. 

Harold Irving, his son. 

Verne Gale, manager of the Westvale nine. 

Pollard, Irving s bookkeeper. 

Pete Adams, colored pitcher on the Westvale nine, 

Almira Purdy, Tim' s wife. 

Mabel Remington, Irving s stenographer. 

Nellie Gale, Verne" s sister. 

Mejnbers of the ball team, villagers, etc, 

DADDY 

A Comedy in Three Acts 
By Lilli Huger Smith 
Four males, four females. Costumes, modern ; two easy interiors. 
Plays an hour and a half. Mr. Brown exhausts all the resources oi 
science, including smallpox and diphtheria signs, in an endeavor to keep 
away the admirers of his daughter whom he wishes to keep at home. He 
finally asks Dr. Chester, who is privately in love with her, to help him to 
dissuade her from becoming a trained nurse. The doctor does so by 
mairying her himself. Very clever and amusing; full of wit and of high 
tone. Strongly recommended. 

Price, 25 cents 

CHARACTERS 

Mr. Wrexson Brown. y//5/ ///&<? his fellow men. 

Teddy Brown, his son, pursuing football at college. 

Paul Chester, a young doctor. 

Thompson, the Browns butler. , 

Mrs. Wrexson Vy\\.o\N^ , just like her fellow wo^nen. 

Nellie Brown, her daughter, a debutante. 

Mrs Chester. Mr. Browns sister, pursuing ill- health at home. 

^*ME thf BrnTx,m cook 



RED ACRE FARM 

A Rural Comedy Drama in Three Acts by Gordan V. May. Seven 
males, five females. Costumes, modern ; scerery, one interior, one exte- 
rior. Plays two hours. An easy and entertaining play with a well-bal- 
anced cast of characters. The story is strong and sympathetic and the 
comedy element varied and amusing. Barnaby Strutt is a great part for 
<^ good comedian ; " Junior " a close second. Strongly recommended. 
Price , 2^ cents 

THE COUNTRY MINISTER 

A Comedy Drama in Five Acts by Arthur Lewis Tubbs. Eight males, 
five females. Costumes, modern ; scener}' not difficult. Plays a full even- 
ing. A very sympathetic piece, of powerful dramatic interest ; strong and 
varied comedy relieves the serious plot. Ralph Underwood, the minister, 
is a great part, and Roxy a strong 50ubrette ; all parts are good and full 
of opportunity. Clean, bright and strongly recommended. 
Pfice, 2^ cents 

THE COLONEL'S MAID 

A Comedy in Three Acts by C. Leona Dalrymple. Six males, three 
females. Costumes, modern ; scenery', two interiors. Plays a full even- 
ing. An exceptionally bright and amusing comedy, full of action ; all the 
parts good. Capital Chinese low comedy part ; two first-class old men. 
This is a very exceptional piece and can be strongly recommended. 
Ft ire, 2 J cents 

MOSE 

A Comedy in Three Acts by C. W. Miles. Eleven males, ten females. 
Scenery, two interiors ; costumes, modern. Plays an hour and a half. A 
lively college farce, full of the tri:e college spirit. Its cast is large, but 
many of the parts are small and incidental. Introduces a good deal of 
singing, which will serve to lengthen the performance Recommended 
highly for co educational colleges. Price, ij cents 

OUR WIVES 

A Farce in Three Acts by Anthony E. Wills. Seven males, four fe- 
males. Costumes, modern ; scenery, two interiors. Plays two hours and 
a half. A bustling, up-to-date farce, fuil of movement and action ; all 
the pjarts good and effective ; easy to produce ; just the thing for an ex- 
perienced amateur club and hard to spoil, even in the hands of less 
practical players. Free for amateur performance. Price, 2J cents . 

THE SISTERHOOD OF BRIDGET 

A Farce in Three Acts By Robert Elwin Ford. Seven males, six fe- 
males. Costumes, modern ; scenery, easy interiors. Plays two hours. 
An easy, effective and very humorous piece turning upon the always in- 
teresting servant girl question. A very unusual number of comedy parts; 
•1] the parts gooJ Easy to get up and well recommended. Price^ 2j centt 



J\. UJ. Piticro's Plays 

Price, 50 Ct it^ Cacb 



MIH-TH A VNFT ^^^^ '° ^^^ ^<^*«- six males, five femaie*. 
lTIlL/-Vli/\illli:<L> Costumes, modem; scenery, tliree interiors. 

Play; r-xo and a half hours. 

THE NOTORIOUS MRS. EBBSMITH ST" l^gT, 

males, fire females. Costumes, modem; scenery, all interiors. 
Plays a full erening. 

THF PROFI ir ATF Playin Four Acts. Seven males, five 
I nu r IXUrLilun l L, females. Scenery, three interiors, rather 

eiaborite : c;s:\::.^-r5. n: .iern. Plays a full evening. 

THE SCHOOLMISTRESS !t-^^^7:^A^.^%^^L'^: 

em: scenery, three interiors. Plays a full evening. 

THE SECOND MRS. TANQUERAY ^lir^^Si 

feir.a'e:. C:s:.Li:.es. :m>ier:i: soenery, :Lree interiors. Plays a 
fuU evening. 

^WFFT T AVFNHFR Comedy in Three Acts. Seven males, 
■jTfEiLii LltI Y EiilL/ILA, four females. Scene, a single interior, 

costumes, iii'>ieri:. Pliv* a full evening. 

TUF TUTTNnFPRniT Comedv in Four Acts. Ten males, 
InL InUI^ULlVDULl nine females. Scenery, three interi- 
ors; oosruxnes, modem. Pi ays a full evening. 

THF TIM F^ Come<ly in Four Acts. Six males, seren females. 
lUti 1 IITIEO Scene a single interior ; costumes, modem. Plays 

a full evening. 

THF WFAIfFR QFY Comedy in Three Acts. Eight males, 
1 nJu YTE»AlvtI\ tjCA eight females. Costumes, modern; 

scenery, two interiors. Plays a full evening. 

A WIFE WITHOUT A SMILE '""''^' *" ^"^ ^'"- 



1 



Five males, four f 

Costumes, modern : scene, a single interior. Plays a full eTening 



Sent prepaid on receipt of price by 

Weilttv ^, iBaktr & Companp 

No.- 5 Hamilton Place, Boston, Massachusetts 



LIBRARY OF CONGRES 




017 400 020 



C|>e l^lUatn WtLXXtn Ctiittoti 
of $lap£( 



A^ YOn I IITP IT Comedy in Five Acts. Thirteen males, four 
AD IVl) I4AI4 11 females. Costumes, picturesque ; scenery, t»- 
rled. Plays a full evening. 

CAMIT T F Brama in Five Acts. Nine males, five females. Cos- 
AIulLiltti tumes, modern j scenery, varied. Plays a full evening. 

INflOMAD ^^y ^° ^^^^ Acts. Thirteen males, three females. 
inUUinAlV Scenery varied j costumes, Greek. Plays a full evening. 

MADV ^TITABT Tragedy in Five Acts. Thirteen males, four f^- 
ulAIVl ^lliAAl males, and supernumeraries. Costumes, of the 
period ; scenery, varied and elaborate. Plays a full evening. 

THE MERCHANT OF VENICE SiTe','fh?er/a°o>l5J:: IZti^^. 

picturesque ; scenery varied. Plays a full evening. 

DirHPI IFf] Play in Five Acts. Fifteen males, two females. Bcen- 
mvUCMCU ery elaborate ; costumes of the period. Plays a full 
evening. 

THF filVAIC Comedy in Five Acts. Nine males, five females. 
lUU niTALrJ Scenery varied; costumes of the period. Plays a 
toll evening. 

SHB STOOPS TO CONQUER SX*U? frm^.et'lc.,.':'.?^ 

rled ; costumes of the period. Plays a full evening. 

TWELFTH NIMT; OR, WHAT YOU WILL iX'/.o'^^r^'. 

three females. Costumes, picturesque ; scenery, varied. Plays a 
full evening. 



Sent prepaid on receipt of price by 

imittt 1^. 'Bafier & Companf 

Fo. 5 Hamilton Place, Boston, Massachusetts 



• . J. PARKHILL a CO., PRINTERS. BOSTON. U.S.Ar^ 



